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Wonder has Lukas ever tried to track down some of Quincy’s Scores or does Mr Jones have them locked up in his Vaults.
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Quincy Jones’ LPs are probably controlled by the record companies that originally released them rather then Jones himself:
Bob & Carol & Ted & Alice (Bell)
Cactus Flower (Bell)
Enter Laughing (Liberty)
For Love of Ivy (ABC)
The Hot Rock (Prophecy)
In Cold Blood (Colgems)
John and Mary (A&M)
The Lost Man (Universal)
MacKenna's Gold (RCA)
Mirage (Mercury)
Sanford and Son (RCA)
The Slender Thread (Mercury)
As to the prospects for release, as near as I can tell, the Bell, Colgems, and RCA catalogs are owned by Sony. Liberty is owned by Capitol-EMI. ABC, A&M, Mercury and Universal Records are owned by the Universal Music Group. As to Prophecy, I just don’t know, but since it was distributed by Bell Records, I'm guessing that it's part of Sony.
A few FSM releases notwithstanding, Sony seems to have no interest in re-releasing old soundtrack LPs. Nor does Capitol-EMI (except for the Bond soundtracks). The best bet would seem to be UMG, where Intrada has been making inroads. Yesterday’s Intrada release of Bernstein’s “Gold” is from the ABC catalog.
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The Quincy does Mancini album was released on CD - in Japan. It's great and worth trying to find a copy of. I'd really love to have In Cold Blood and Mirage on CD.
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Actually, that ADVENTURERS Ray Brown album is probably much coveted mostly for a non-ADVENTURERS track called "Coming and Going", featuring the singular contributions of Sally Kellerman. (If you have the LP, you know what I'm talking about!)
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Actually, that ADVENTURERS Ray Brown album is probably much coveted mostly for a non-ADVENTURERS track called "Coming and Going", featuring the singular contributions of Sally Kellerman. (If you have the LP, you know what I'm talking about!)
A contributer to Soundtrack Collector describes the cut as "the most over the top orgasm psyche funk track ever!"
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Posted: |
Jan 6, 2009 - 4:45 PM
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By: |
OnyaBirri
(Member)
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I'm not sure what you're saying here. Are you saying that Quincy Jones actually composed the score of "The Adventurers" rather than Antonio Carlos Jobim?
No.
Or are you saying that it's the Quincy Jones Orchestra rather than the Ray Brown Orchestra that is playing on this cover LP...
...I suppose the latter is possible, if Quincy Jones was under contract to another label and couldn't contractually use his own orchestra's name. But then why would he be so prominently shown on the cover as the arranger? And why would Ray Brown, a prominent jazz bassist, allow his name to be used, when he was still quite active in his own right?
For the same reason that "Something Else" on Blue Note is Miles Davis album, but is credited to Cannonball Adderley for contractual reasons. Miles was on Columbia, and Cannonball was in his group. So, it came out under Cannonball's name.
There were very few working, functional jazz orchestras in the late 60s and early 70s. There were studio groups, however, made up of different combinations of a larger pool of players. Ray Brown played on a lot of Q's stuff. It must have been contractual. Google "The Ray Brown Orchestra" and all you get is references to "The Adventurers."
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Does anyone remember Jone's score for the 1968 unofficial remake of MIRAGE called JIGSAW? It starred Harry Guardino, Brad Dillman, and Hope Lange, with the then-hot Michael J. Pollard providing a typically spacey supporting performance.
It had a fairly "out there" abstract jazz main title and some good
Jones suspense licks, as I recall. I think this was originally produced for as a TV movie but was sent out as a theatrical release, jazzed up with a few frames of fashionable nudity.
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Hay, thanks for the tip, Vee, re
it was noos to us! 
Some Other Unheralded Opuses But Still Worth Checking (and Hearing) Out Department:
This is probably a little-known (and even lesser seen) effort from the early 70s that didn’t do much
for the reputation of either the stars or director Richard Brooks
yet still makes for some right pleasant listening if you’re in the mood for relaxing cues (and a coupla
stand-out orchestral sequences, as well).
O, und Bob, we’re glad you brought up
again as - amongst his more widely-known urban efforts (“In the Heat of the Night”, “They Call Me
Mister Tibbs” et al) - this one is notable for its main title sequence with the chorus of kids chanting
in the background of the Philadelphia scenery. It’s a very dark and moody piece (in keeping with the
storyline) but Meester Q manages to endow the proceedings with his own particular panache.
And since he was Mr. Poitier’s main composer of choice, has anyone ever caught a mid-70s flick
they collaborated on called
Jones' musical stamp is wistful, ethereal and quite captivating (aside from the fact it spotlights
the star playing the symbolic equivalent of something that’s the last durn thing we needed to seem him play:
an avenging angel high on personal payback rather the higher standard you might’ve assumed).
Still, it’s a peculiar ditty you might find intriquing if you can ever track it down … 
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On one condition: whatever said "controversy" is about ain't gonna result in the usual juvenile flame fiascos.
So enlighten us: what's the Jones-Byers flap all about  - and does it have anything to do with the preferred
topic under scope (film scores, remember)? ...
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